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Lot 59
A Bloch Physio-Pocket `Detective` Monocular 5.5cm x 4cm Plate Camera, retailed by W Watson & Sons Ltd, London, with Krauss Tessar-Zeiss f/4.5 51mm lens, with viewfinder and concealed lens operating at 90 degrees to black morocco-covered body-tube, with fifteen dark slides, in maker`s fitted binocular-pattern black leather case, circa 1905, 4Bii, leather case worn, strap missing
Lot 66
A rare Brins Patent miniature detective Camera no. 531, with lacquered brass conical body and turned ebony and lacquered brass handle, with f/3.5 30mm lens, front-mounted manually-operated sprung shutter-cap, spring re-soldered to body, 1in diam dark slide with trap door access to back, attachable viewfinder to fit slot on top and rear viewing lens for use as monocular, in fitted blue velvet and silk-lined case, with simulated morocco covering, 125mm wide, circa 1891, 4Bii, some black repainting to interior and exterior, some work carried out on dark slide
Lot 135
Nikon: Coolpix 950 2.11 mp digital camera, with f/2.6-4 7-21mm lens, with instructions, soft case, charger and CD, 2002, with TC-E2 Tele Converter and SB-22s Speedlight, in maker`s boxes, flash bracket and WD-E24 Wide Converter, in maker`s case, 3Bii; with Olympus AZ-200 Super Zoom, in maker`s box, 1991
Lot 164
Asahi Pentax: Slide Copier, circa 1960, and Auto Bellows K Set with filter and eye cup, 1970s, in maker`s boxes, 3B, with black plastic covered Speedbag outfit rigid case, blue woven nylon soft bag, flashgun, Zoom-70 AF camera and Zoom-70-X AF camera, in maker`s cases; with non-Pentax accessories including extension tubes, straps, self timer, lens hoods, flash bracket, Weston Master V light meter,
Lot 1102
§ Sam Taylor Wood, b. 1967 - artist`s working proof for `XV Seconds` produced in 2000 The original weighed two tons, stood 60 feet tall and ran 900 feet around the outside of Selfridges to the bemusement of shoppers on London’s Oxford Street. The giant photograph – Selfridges claim that it was the biggest photograph and artwork ever seen in London – was created by UK conceptual artist Samantha “Sam” Taylor-Wood, essentially to wrap the building and hide the scaffolding while workmen renovated the façade of the famous department store in 2000. Sam Taylor-Wood turned the project into a much vaunted work of art. Called “XV Seconds”, the photomontage was her version of the Elgin marbles, a frieze in which the Greek gods were replaced by 21 icons of modern culture including Sir Elton John, Blur guitarist Alex James, Ray Winstone, Richard E. Grant, Timothy Spall, Adrian Dunbar, Jane Horrocks, Amanda Ooms and models Jodie Kidd and Alex Wek. The artist’s working proof of the creation, a 24-foot computer-printed scale model of the finished article, signed on the reverse by Sam Taylor-Wood in black ink, is offered here. PROVENANCE; This lot is sent for sale by Mr Mario Capaldi, the creative director of the company responsible for overseeing production of the finished article, who believes the proof to be unique. He said: “The fit and colour management of the project was vital to its success. It was something no one had experience before, but it had to be bang on. I suggested the printers should produce a working proof, printed on the same material and exactly to scale, for Sam to approve. The job took many months to complete and when it was finished, the proof was returned to me. I cheekily asked Sam to sign it and I believe it to be unique. I remember her saying that even she did not have a copy.” “The full size version stopped the traffic when it was first unveiled in April 2000 and pictures of the artist posing in front of it with Elton John were on television and in all the newspapers. What happened to the original finished artwork is not clear, but on completion of the project Mr Capaldi was given this proof which he asked Sam Taylor Wood to sign for him. The artist commenced work on a series of major photographic works called “Five Revolutionary Seconds” in 1995. The title refers to an old Royal Air Force camera which registered a 360-degree view in one continuous five-second-long revolution. The Selfridges installation XV Seconds was her first major public commission. Its name was also a reference to the famous Warhol quip "Everyone is famous for 15 seconds". It was made with the special camera with her good friend Sir Elton John sitting in the centre of the circle as Zeus in a pose after the portrait by Ingres. The resulting photograph, which took 15 seconds to take, was the largest, heaviest, longest to print and the most difficult to achieve technically. Its unveiling coincided with the opening of Tate Modern and brought Sam Taylor-Wood’s work to the attention of a new and much wider audience. Nominated for the Turner Prize in 1998, she made her debut as a feature film director in 2009 with Nowhere Boy, based on the childhood experiences of John Lennon and was nominated for a BAFTA award last year. Since graduating in 1990 Sam Taylor Wood has had many solo exhibitions and has been represented in many multiple exhibitions throughout the World. The proof measures 19" x 24`, NOTE; A smaller version of this print was produced in 2000 in an edition of ten measuring 10" x 83" but it only covered part of the whole image. A copy was offered at Phillips de Pury in New York on 14th November 2008, lot no 417.
Lot 126
A collection of World War II and later instruments comprising a cased Air Ministry issued 8inch cone for camera F24 in grey painted case of issue marked 14/A/727 cone lens camera F24 ref no.14/A/ complete with Air Ministry label, a World War II period US army Signal Corps test set no.1-49, by the Leeds & Northrup Company of Philadelphia in wooden case of issue, a World War II period Air Ministry issued bubble Sextant mark IX, in black painted metal marked with Air Ministry mark and reference no.6B/151 in case of issue, military World War II period speed indicator in knots and a pair of military issue headphones
Lot 172
`The Book of Days` a miscellany of popular antiquities edited by R Chambers, in two volumes, printed by W & R Chambers, London 1866, bound in half Morocco calf with red boards and gilt lettering, `Westward Ho!` by Charles Kingsley, printed by Macmillan & Co, London 1889 in two books, bound in maroon half calf with maroon boards and gilt lettering, `The Life of Christ` by Frederic W. Farrar, printed by Cassell, Petter & Galpin, London c.1880, bound in dark blue half calf with maroon boards and gilt lettering, `The Worlds Religions` by G T Bettany, printed by Ward, Lock & Co, London 1890, bound in brown half calf with maroon boards and gilt lettering, `Glimpses of India a Grand Photographic History of the Land of Antiquity, the Vast Empire of the East`, with five hundred camera views of cities, temples, towers, public buildings etc, with full historical text by J H Ferneaux, made by Historical Publishing Company USA, published by C B Burrows, Bombay, India 1895, bound in maroon calf with gilt lettering (af), `The Holy Bible` printed by William Mackenzie, Glasgow, c.1890, fully bound in black leather with gilt decoration and lettering (af), also a quantity of other books (26)
Lot 222
Epstein (Jacob).- Oyved (Moysheh) The Book of Affinity number 68 of 525 copies signed by the author this copy also inscribed “For Mrs Malula Sagall A gift of the gods! 1.5.41” mounted colour plates by Jacob Epstein a little browned at edges 1933 § Baudelaire (Charles) Flowers of Evil edited by James Laver limited edition plates by Epstein printed for Members of The Limited Edition Club at the Fanfare Press 1940 § Ireland (Geoffrey) Epstein: A Camera Study of the Sculptor at Work printed at the Lion and Unicorn Press [1956] plates original cloth the first two t.e.g. others uncut with spines slightly faded all a little rubbed v.s. (3) (3)
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